Andante et Allegro for Trombone and Piano was composed for the annual trombone competition at the National Conservatory in Paris in 1935. The beautifully lyrical Andante provides wonderfully expressive phrasingopportunitites while challenging the trombonist with quick and agile yet soft and legato figures. The contrasting Allegro gives vent to the brilliant virtuosic possibilities of the instrument. Andante et Allegro for Trombone and Piano was composed for the annual trombone competition at the National Conservatory in Paris in 1935. The beautifully lyrical Andante provides wonderfully expressive phrasingopportunitites while challenging the trombonist with quick and agile yet soft and legato figures. The contrasting Allegro gives vent to the brilliant virtuosic possibilities of the instrument.

Piano Accompaniment-Originally written for two flutes and string orchestra this piano reduction by Louis Moyse can be played by two flutes or flute and oboe. The string Orchestra accompaniment is available for rent.Originally written for two flutes and string orchestra this piano reduction by Louis Moyse can be played by two flutes or flute and oboe. The string Orchestra accompaniment is available for rent.

for Woodwind Quintet-These two extraordinary works of late Mozart KV 594 and KV 608 were both composed to fulfill a commission for a memorial exhibit in Vienna to be played in a mechanical clock organ. The term fantasy orfantasia came to be affixed to these works later and is more descriptive and less cumbersome than the term Mozart listed in his own catalogue Ein Stuke fur ein Orgelwerk in ein Uhr. They are also variouslytitled Adagio und Allegro in f fur ein Orgelwerk and Allegro und Andante (Fantasie in f) fur eine Orgelwaltze. The first of these composed between the monumental String Quintet in D and the Piano Concertoin Bb KV 595 is an A-B-A form comprised of an f minor Adagio opening and closing with a contrapuntal Allegro at its heart. KV 608 is more complicated opening with an f minor section reminiscent of a French Overture followed by a fugue in fminor then an Andante aria followed by a return to the opening and then a more complex version of the fugue. Despite the frustration that Mozart expressed (in a letter to Constanze) with the sound world of these mechanical devices KV 594and 608 are remarkable works which stand at an intersection incorporating what he learned about counterpoint studying at the foot of Bach while looking ahead to the emotional and harmonic poignancy of Schubert.

Oversized Score-Percy Grainger's extraordinary scoring skills permeate this classic carefree work for symphonic band. Children's March: Over the Hills and Far Away originally a piano solo was orchestrated by the composerwhile he was a member of the U.S. Coast Guard Artillery Band. It includes two unusual scoring elements for the time - a prominent part for piano (cued in the winds) and brief four-part vocal interludes to be sung by members ofthe band (or a small chorus ad lib). Grainger believed that the greatest expressivity could be found in the lower instruments of the band (particularly the lower woodwinds) and Children's March includes a liberal andhighly specialized use of the bassoons English horn bass clarinet and low saxophones. The march was first performed by the renowned Goldman Band in 1919 and was recorded in its original form by the same band with the composerconducting. (Full set includes a vocal score.)

A delightful tone poem composed as an oboe solo with wind orchestra accompaniment and dedicated to Susan Hicks Brashier. Later versions for solo clarinet and flute and orchestra accompaniments followed. Each solo instrument withpiano accompaniment is also available for recitals and contest. Grade 3.

Ritmico is a dynamic contest style overture that joins florid melodic writing with a pulsing percussion and driving bass lines. Cast in ABA form the main vivace theme gives way to a lyrical cantabile middle section eventually leading towards a recapitulation of the main theme. In this final section the melody and accompaniment figures return with an energetic counterpoint woven in building towards an exciting and dramatic finish to the piece. This is an ideal closer or opener perfectly suited for medium to advanced ensembles. (Grade 4)

Little Trio for:Two Oboes and English Horn orFlute Oboe and Bb Clarinet

I Left My Heart in San Francisco is a popular song which has become a timeless favorite spanning across generations. With music by George Cory and lyric by Douglass Cross it became most well-known as the signature song of Tony Bennett. This band arrangement by Alfred Reed displays the wistful melody in a lush sonic canvas rich with the instrumental colors unique to a symphonic band. This edition includes a full score and newly engraved parts carefully edited and adapted for modern concert bands by Mark Rogers. (Grade 3.5)

The Swan by Saint Saens is one of the most recognizable themes of the Romantic period. This arrangement for string orchestra by Lauren Keiser captures the essence of this beautiful melody while adapting it to the abilities of beginning and intermediate musicians.

A staple in the repertoire of high school and advancing college level trumpet players. On major contest and festival lists throughout the world. A staple in the repertoire of high school and advancing college level trumpet players. On major contest and festival lists throughout the world.

Composed in the summer of 1984 Yorkshire Ballad was premiered at the Kansas Bandmasters Association Convention by Claude T. Smith and the Kansan Intercollegiate Band. Since its publication it has become one of the composer'smost popular works and has been arranged for a variety of ensembles. The composer writes I composed this little piece so that younger players would have the opportunity to play a piece that is more or less in the style of(Grainger's) Irish Tune from County Derry .

This overture is based on a Scottish sounding folk melody by the composer. The opening theme is lively and articulated based loosely in the Dorian mode. The slow middle section features solo horn followed by a return of the opening material marching the music forward to its rousing conclusion.

The work opens with a dramatic brass fanfare before moving to a spirited allegro. The slower middle portion is rather jazzy in character with a trumpet solo. After several statements of this lush song the faster music returns before the opening fanfare reprises closing the piece in dramatic fashion. Includes generous cross-cuing to enable performances with smaller instrumentations.

Full Score-This arrangement captures the essence of the original work as from the beginning until m. 76. It duplicates the original with the exception of the reassignment of roles. Playing the recording of the original will be helpful in providing the students with a model for performance.

This saxophone quartet is for a group of advanced players. It includes numerous meter changes with very independent part writing. Parts include very clear directions from the composer to help the players.

Born in Havana Cuba in 1895 Ernesto Lecuona is arguably Cuba's greatest serious composer. He was a gifted pianist who wrote hundreds of songs and piano works before he died in 1963. Most of his music is composed in a rich authentic Cuban style. The most famous of his works is Malagueña the sixth movement of his Suite Andalucia for solo piano which was first published in 1928. Malagueña has been recorded as a popular song (with added lyrics) as a serious piano work (even by Lecuona himself in the 1950's) and also as a jazz standard (Bill Holman's arrangement for the Stan Kenton Orchestra in the early 1960's.) Over the years it has been arranged many times for variousother mediums ranging from symphony orchestra to field arrangements for drum and bugle corps.In 1976 James Barnes arranged Malagueña for the University of Kansas Marching Band. A few years later with permission from the publisher he expanded this original arrangement into a full work for symphonic band called Prelude Fantasy and Fandango on Lecuona's Malagueña. After several performances in the spring of 1978 (most notably at the MENC Convention in Colorado Springs) this work along with over 200 other Barnes manuscripts lay fallow in the KU Band Library. While packing up his office belongings when he retired from The University of Kansas in 2015 Barnes came across this long languishing Prelude Fantasy and Fandango which remained in condensed score. In the fall of 2016 he completely re-composed the opening portion of the work reduced the number of required percussion and disposed of the two harps in his 1978 version. This new setting features evocative thinly scored extended solo passages for clarinet bassoon and flute before the full wind band concludes the work with a powerful dramatic setting of the main themes of Lecuona's masterful Malagueña.

With an updated flute solo part edited by Sir James Galway this new publication introduces Mouquet's whimsical work to a new generation of flutists. In 3 movements: I. Pan Et Les Bergers (Pan and the Shepherds) II. Pan Et Les Oiseaux (Pan and the Birds) III. Pan Et Les Nymphes (Pan and the Nymphs) With an updated flute solo part edited by Sir James Galway this new publication introduces Mouquet's whimsical work to a new generation of flutists. In 3 movements: I. Pan Et Les Bergers (Pan and the Shepherds) II. Pan Et Les Oiseaux (Pan and the Birds) III. Pan Et Les Nymphes (Pan and the Nymphs)

The poems for this work were taken from Rabindranath Tagore's Gitanjali (Song Offerings) written in India around 1910 during a restless almost sleepless period in the poets life. Introduced to the west in 1912 they became widely recognized for their simple captivating descriptions of nature and their yearning spiritual tone. Almost every line is filled with natural images and a wandering restless mood is ever present. This sense is captured by the composer in his setting for voice alto saxophone and piano. Movement titles: I. Nightfall II. Light III. Departure.

A moderately difficult composition utilizing the less performed time signature of 5/8. This time signature often alternates with 6/8 and other times signatures making for some flashy rhythmic syncopation. The jazzy scherzo motionalternates with sections of lyrical beauty.

Richard Strauss's Also Sprach Zarathustra (Introduction Only) Op. 3 for Concert Band.